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Essay / Research Paper Abstract
A 3 page paper which looks at some of the dramatic devices, such as irony, cliffhanger and symbolism which are found in JB Priestley's An Inspector Calls. Bibliography lists 1 source.
Page Count:
3 pages (~225 words per page)
File: JL5_JLinspcalls.rtf
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Unformatted sample text from the term paper:
middle-class, affluent family, the Birlings, with a young working-class girl named Eva Smith who has recently committed suicide. Initially, the Birlings are adamant that none of them even knew the
girl, but as the Inspector uncovers more and more of their private lives, it becomes apparent that they have all contributed, in some way, to the girls eventual death, and
must each take some measure of responsibility for it. At the end of the play, they find that the Inspector is unknown to the local police force, and there is
no record of Eva Smiths death: their relief is short-lived, however, as they are informed that another Inspector - this time, a genuine policeman - is on his way up
to interview them. Perhaps Priestley is suggesting that if they had accepted the moral lessons presented by the first Inspector, rather than reverting to their original attitudes and beliefs, the
second Inspector might never have materialised. In the course of the play, Priestley makes use of a range of dramatic devices to
give a complicated and intriguing structure to the narrative, and retain the audiences interest. In the opening scene, for instance, he specifically describes staging and lighting which give us a
great deal of information about the Birlings, even before they speak. It is a family dinner, but the setting is extremely formal and the room is described as comfortable but
not cosy. The soft pink lighting, which under other circumstances would indicate warmth and softness, tends to remind us instead of the rose coloured spectacles through which the family see
themselves. It is notable that when the Inspector enters, the lighting becomes harsh, white and searching: reminiscent of an interrogation room.
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